This study examines how color in Chinese painting generates meaning within the traditional discourse and how it can be refined under contemporary materials and techniques. Using a corpus of 320 representative works, we quantify the incidence of “pronounced coloration”; with 40 participants we assess warmth–coolness and perceived pleasantness; and through reconstructions on raw and sized Xuan paper we record saturation–layer curves. Results show: since the Tang dynasty the share of pronounced coloration rises and remains high through the Ming–Qing and today; warm palettes yield higher pleasantness, whereas cool palettes better sustain senses of serenity and distance; marginal gains taper around 6–8 layers. Accordingly, we propose a staged workflow—phased coloration, multi-layer light washes, and zonal glazing—supported by material compounding and digital pre-visualization, offering an actionable pathway for color planning in public art and cross-media practice.